Fireface UFX III is the centre of any multitrack studio, handling up to 94 channels I/O with ease. Its unprecedented flexibility, compatibility, the inclusion of DURec (Direct USB Recording) and RME’s famous low latency hardware and driver designs guarantee flawless operation in any mode and application.

Packed with professional features, including SteadyClock FS, MADI I/O (64 channels), a powerful DSP, USB 3.0 (full 94 channel I/O Class Compliant ready), TotalMix FX, Direct USB Recording, and support for the Advanced Remote Control USB (available separately), the Fireface UFX III is the professional’s preferred tool for multitrack recording, mixing and mastering.

The Fireface UFX III is based on a newly developed analog and digital board. While the analog board offers, for example, DC-coupled analog outputs as well as new AD and DA converters with improved THD+N value, the digital board also enables interesting new features thanks to updated high-tech components.

Connectivity & Features:

• 12x Analog I/O
• 4x XLR/TRS Mic/Inst/Line
• 2x Phones Output
• 1x AES/EBU I/O
• 2x ADAT I/O
• 2x SPDIF I/O
• 1x Word Clock I/O / MADI Coaxial
• 1x MADI optical I/O
• 2x MIDI I/O
• RME USB 3.0
• TotalMix FX
• ARC USB
• DURec
• Class Compliant Mode
• AutoSet Digital Gain Control
• DC-coupled Outputs
• Including FX
• SteadyClock FS

Comprehensive MADI Connectivity

The Fireface UFX III opens the doors to a host of RME and 3rd party digital and analog I/O solutions. Expanding your analog channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.

To further enhance MADI flexibility, the Fireface UFX III boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analog plus 16 ADAT plus AES), the MADI I/O is still available via RME’s integrated hardware mixer TotalMix FX. Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.

Powerful Applications for Mixing, Monitoring & Measurement Included

The Fireface UFX III comes with the TotalMix FX DSP mixer offering comprehensive routing and monitoring options, as well as the DIGICheck Analyzer allowing to measure and analyse the digital data feed in both directions with maximum precision. TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.

The additional TotalMix Remote is a remote control for TotalMix FX, to control the hardware mixer and effects in RME audio interfaces. TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers – the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real-time. Easily adjust all the mixer and FX settings from a distance, via Ethernet and WiFi.

USB 3 Class Compliant Audio

The Fireface UFX III operates in two different modes: driver-based USB 3 and Class Compliant. The Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OSX and Linux distributions. No proprietary drivers are required, the device will be directly recognised when the CC firmware is loaded. 

The Fireface UFX III is RME’s first audio interface with full USB 3.0 support in Class Compliant Mode. This makes all channels available in driverless operation for Linux, Mac and iPadOS. An iPad Pro with USB C can manage up to 94 channels for recording and playback in TotalMix FX for iPad and on system level.

ARC USB Remote Control – Plug’n Play Plus

The optional available ARC USB connects to your computer via USB, and talks to TotalMix FX directly. It has 15 freely assignable and illuminated buttons, one encoder wheel, and a TS jack to connect a foot switch. The ARC USB is a USB 1.1 MIDI remote control for the Fireface UFX III. Thanks to operating as a UAC 1 class device, it is natively compatible to Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX III.

RME has released the 12Mic-D, a Dante-enabled redesign of RME’s digitally controlled, 12-channel mic preamp and converter. The 12Mic-D has twelve microphone and line-level inputs with digital studio-quality conversion, remote-controllable gains, integrated MADI and Dante connectivity, and a slew of other features. The RME 12Mic’s Dante update maintains the 12 inputs for microphone and line signals. For line-level equipment and Hi-Z instruments, Channels 1 to 4 include combined XLR/jack inputs. The rest are XLR connectors. The internal A/D converters work at up to 24-bit/192 kHz resolution.

Connectivity options include Dante, MADI, and ADAT. The unit has separate coaxial MADI ports and supports an optional SFP module for the optical connection. There are also three ADAT ports and Word Clock I/O. The headphone socket can be used to monitor all incoming digital and analogue signals. Similarly, the routing matrix allows you to assign any of the various outputs to any of the analogue and digital inputs. Dante can bring in up to 64 audio channels.

In addition to a web interface and network link, the 12Mic-D may be controlled via the LCD screen on the front panel (WLAN). You can organise channels, turn on phantom power, and route between inputs and outputs using the menus and software.

RME has launched the Fireface UCX II, the successor of the iconic Fireface UCX. Featuring 40 I/O channels and a variety of possible applications, the Fireface UCX II makes a big impact in its diminutive half-rack size.

For 25 years, RME has been committed to flexibility: the more flexible its products and designs, the easier they can be adapted to new requirements. For company founder Matthias Carstens this lies at the heart of RME’s success: “The Fireface UCX II represents a step forward, a perfect summary of 25 years of design.”

Boasting up to 20 recording and 20 playback channels, SteadyClock FS, high-performance microphone inputs, built-in parametric EQ, USB direct recording plus full stand-alone functionality, the brand-new Fireface UCX II encapsulates all RME are known for. At present, no existing audio interface offers more connectivity and functionality in a half-rack package.

The Fireface UCX II houses two mic/line preamps in XLR combo configuration on the front panel, along with two digitally controlled line/instrument inputs, followed by a headphone jack, various control buttons, a display, and the main volume knob. At the rear is a set of ten analogue balanced line inputs and outputs, MIDI I/O, ADAT I/O, AES/EBU and SPDIF I/O, USB 2.0 as well as a switchable word clock I/O.

DURec Direct USB Recording

Thanks to the digital DURec (Direct USB Recording) functionality, any input or output of the Fireface UCX II can be recorded directly to a USB storage device. Therefore DURec uses the integrated DSP which provides stand-alone operation without the need for a computer. The fields of potential applications include stand-alone field recordings, live and rehearsal recordings, or playback of live recordings for virtual soundchecks.

Femtoseconds for Clocking

With the SteadyClock FS, the Fireface UCX II features the latest clock and jitter rejection technology from RME. Based on a femtosecond clock, SteadyClock FS reduces the intrinsic jitter when converting from and to analogue over all digital formats to a new all-time low.

TotalMix FX & DigiCheck

The Fireface UCX II comes with the TotalMix FX DSP mixer offering comprehensive routing and monitoring options, as well as the DIGICheck analyser allowing it to measure and analyse the digital data feed in both directions with maximum precision.

RME DIGIFACE AVB

RME’s new Digiface AVB mobile audio interface is based on the AVB standard and enables the transmission of up to 256 network audio channels between a Windows computer and other AVB devices within an audio Gigabit network via a single USB 3.0 cable.

The 192kHz interface can be USB bus powered and operates using the open IEEE 802.1 protocol as part of the AVB standard of the Audio/Video Bridging Task Group. Users can adjust the channel sizes of streams between two and 32 channels as needed to ensure maximum compatibility with AVB audio devices available on the market.

The RME Digiface AVB features word clock I/O, a headphone output, the TotalMix FX mixer as well as an AVDECC controller. The controller enables detection of all AVB devices within a network and allows users to manage and monitor incoming and outgoing streams.

RME ADI-2 PRO FS

RME also introduces the ADI-2 Pro FS, an update of the ADI-2 Pro converter with the addition of a new femtosecond clock technology of the ADI-2 DAC. Also, the AutoDark mode from the new ADI-2 DAC has now also been implemented in the ADI-2 Pro FS.

Like the ADI-2 Pro, the ADI-2 Pro FS combines several devices in one: a high-end studio-quality AD/DA converter, a dual headphone amplifier, a multi-format converter (AES, SPDIF, ADAT) with monitoring features, a DSD recording and playback converter as well as an AD/DA front end for audio measurements with up to 768kHz sample frequency.

With the SteadyClock FS, the ADI-2 Pro FS features the latest clock and jitter rejection technology from the recently introduced ADI-2 DAC. Based on a femtosecond clock (a femtosecond is one quadrillionth of a second) SteadyClock FS reduces the intrinsic jitter of the ADI-2 Pro FS to a new all-time low.

In the last 18 months, RME launched not one but two ‘flagship’ single rack unit audio interfaces — Fireface UFX+ and Fireface UFX II. The UFX+ was a 20th anniversary celebratory release which added the features of the MADIface USB to Fireface UFX, taking its I/O count to an impressive 94 channels at 48k (54 at 96k). The sheer number of I/O enabled by the addition of MADI necessitated both USB 3 and Thunderbolt protocols on the UFX+. With analogue I/O, AES, MADI, ADAT, USB 3 and Thunderbolt, it seemed like the most future proof interface one could buy.

Hot on its heels, the Fireface UFX II followed within six months with a much smaller I/O count of 30 channels. While it shares an identical front panel with the UFX+, the UFX II is quite simply a second generation UFX, with updated conversion, preamps, headphone amps and onboard direct-to-USB recording features (DURec). All features that were refreshed for the UFX+

NEEDS/WANTS

When I heard about the UFX II, I was shocked. I’ve been thinking about updating my existing RME system for a while and I couldn’t work out why anyone would want anything other than the UFX+. The truth is, however, I wasn’t placed to instantly enjoy the benefits of the more elaborate system. I don’t own any MADI converters, don’t presently have a Thunderbolt-enabled machine, and have absolutely no requirement for such a high channel count. My obsession was almost entirely driven by gear lust, coupled with a belief that USB 3 and Thunderbolt must be the only future-proof options.

As it happens, greed costs. The MADI optocouplers are impossible to implement for a bargain. Subsequently, the privilege of celebrating RME’s birthday will cost you an additional $900 over the UFX II; with current street prices widening the gap even further. What’s a gear slut to do? Surely what everyone else says is true; a Thunderbolt interface promises far lower latency than ever before. RME has always retorted, ‘Tosh!’ but here’s my chance to pit my needs and wants in a battle to the death. With the help of Park Orchards Recording’s Evan Lorden, we assembled a selection of five Windows 10 and Mac OS X (from 10.9 through to 10.12) systems, and locked ourselves in for several days of testing between RME’s two top interfaces.

PORTS AIN’T PORTS

First, a community service announcement: Read your manual! You’ll find this all-important sentence in the UFX+’s spiral-bound hard copy. “It is not possible to guarantee reliable and highest performance of USB 3 operation with any computer and cable just because they claim to support USB 3. The real performance has to be evaluated on a per USB 3 port (!) and per cable basis.” Truer words have never been written.

Almost every issue I experienced in testing came down to the use of dodgy USB 3 cables — one from OfficeWorks, and one 5m cable purchased online. Both were junk and resulted in anything from severe audio instability to complete inactivity and system instability, including USB mouse dropouts. Once we used only the provided 1.8m cable (a longer one would’ve been nice) everything became clear. Thankfully, RME’s USB drivers provide a real-time error diagnostic and the manual has helpful tips on debugging your system. The bottom line is: one error equals an unstable system.